Memories of the 20's Gleb Smirnov. In my opinion, it is interesting.
Gleb Smirnov
MEMORIES OF 20-X
Memoirs GB Smirnov of the Moscow artistic life of 20-ies constitute evidence of a person at the time, watching what is happening at close range. As often happens in such cases, the scale of the figures, events and issues is not one that is established over time. "Low" everyday moments are in the foreground and famous characters appear from unexpected quarters. Artistic predilections of the author relating to his upbringing in the bosom of the Russian realist tradition, is also visible in the text rather convex, and he sometimes naively turns his distrust and dislike of the new trends in art in a negative evaluation of people who carried out these tendencies in life. For all this he can not refuse to organicity and concentration of view, in the interest of detail and the ability to be influenced by a large person and give it to suggestive effect. Thanks to all of this on the text - perhaps in addition to the intentions of the author himself - is the imprint of the human era and originality.
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Moscow artistic life I have seen since 1921, predate the revolution of artistic group initially tried to continue their activities. Exhibition "Union" was opened at home against Pokrovsky barracks. Over the entrance hung a large green banner, decorated with the emblem of the society and brush fringe.
The exhibition of the Union pycckih Artists remember excellent work MV Nesterov, among which was full of poetry painting "Two Harmonies." KF Huon put then on a series of loud paint landscapes Trinity Monastery, where the central place occupied by "Domes and swallows." VM Vasnetsov put a few old things, among which was shown a portrait of a boy (her son) in the boyar suit. He had three new paintings and small size. The larger of them is the one where he was shown a lone knight. He was covered with a shield, with persistence and sorrow looking forward to wherever raced on a white horse to meet him banned from the red arrows. Painting is called "One is safety." Thing written by an old artist, was slightly weaker on the technique in comparison with his own canvases period of creative flowering. This was the last performance VM Vasnetsov at the exhibition.
Was also open exhibition of the Wanderers, which was attended by my father. At the opening of these exhibitions were numerous representatives of the old Moscow intelligentsia - well-known scientists, writers and actors. Among the old-fashioned coat and elegant ladies' toilets occasionally flashed modest hoodies specialists, and even rarer - jacket and uniform shirt military, red scarves and leather jacket Komsomol.
Inside the Historical Museum the whole suite of rooms occupied exhibition "OBIS" (hard to decipher the name, which was the first among a host of other abbreviations artistic societies. Thus, there were "GRL", "OMX", "Knife" (New Society of Painters), "OBMAHU "and others.
On "OBIS" involved a huge number of artists in different directions. What's there just was not! Exposed was even quite funny on the content of a naturalistic image of a naked woman in a headdress, standing next to the rose from the earth the big snake. This opus called "The Woman and the skunk." On "OBIS", along with amateur pictures, were the work of serious artists. This was the beginning of the NEP, and many landscapes exhibition sold out individuals, although at very low prices. "OBIS" was like a parade in Moscow available the new force, which has helped artists to create groups, depending on different creative directions. Representatives of artistic societies carefully evaluated to show the possible candidacy of new exhibitors.
On Tverskaya Street in the twenties had opened "Discussion exhibition. There were representatives of Rayonism "depicting the composition of colored lines on dark backgrounds, and come in a" photo-fitters. "
I remember there is one of the "works" in a broad frame, which consisted of mashed gray paint plywood, which is stuck in the middle of this stick, like hangers, an iron blyamboy at the end. Under this "picture" was the signature of the author and literally is his message: "The Spectator! Just two hours before this picture and you will understand its contents. " Among the multitude of stuff on this exhibition was first shown by oil painting works of young AA Deineka. He is portrayed on the small white canvas realistically painted players. His work stood out talent and acute observation of life among the noisy, but boring mediocrity.
In the twenties, in the premises of the Historical Museum on Red Square was brought from Germany, opened a major exhibition of works by German artists. Most of them are followers of expressionism. The city went astonished Muscovites procession of people-ads. On the chest and back of each have been strengthened large boards with posters to advertise the German exhibition. Visitors were many, they were especially attracted unusual for Muscovites paintings of naked prostitutes. Even the audience to play in the backyard of German girls and boys schedule Zille somehow found it necessary to portray the naked, that is puzzling visitors. The style of most painfully exaggerated expressionistic paintings was alien to the traditions of our art, but still some impact of German art in the exhibition has had a number of artists that joined later in the OST.
Were in Moscow the exhibition and the names that have little appropriate to the nature united to them artists. I mean, "Makovec," and "Fire-Color", which has exhibited his paintings, some representatives of the former "Blue Rose" kuindzhistov and a variety of random passengers. Remember the wonderful exhibition of large and realistic at the same time romantic landscapes KF Bogaevsky, occupied by one of the group shows a separate room of the Historical Museum. When viewed from the exposure I was the only visitor, except for modestly sitting in the corner of the author, who had come from Theodosia.
Many of "burns", as no material subsidy on their device would not let go, and all costs were the authors themselves in the misty hope to compensate them for revenues from entrance fees, so as to sell paintings firm can not count. In true connoisseurs of money were missing, and the commission shops were full of pictures with low rates to curiosities.
In special situations were in "Ahra, where many of the exhibited paintings custom made after the collection of materials at the time of paid trips. In "AHRe" were ample opportunities for work than occasionally used, and artists is not enough high professional level. The abundance of weak patterns of mediocre painters provoked criticism of the exhibition "AXPa" a number of masters of the older generation, who considered it inappropriate to exhibit their works alongside the works of "dropouts." They saw themselves as custodians of the traditions of high-level Russian realist art, and indeed on the right they were, what they think, obliged them creatively resist demands to reduce the skill of painting. At the same time in the affected and misunderstanding of the enormous shifts that have determined the future path of all the national culture and the role of "Ahra" in the development of Soviet realist painting.
Distribution of funds to support the fine arts is largely controlled by well DP Shterenberg, patronized the imitator Western formalist tendencies. Most of the realist artists of the older generation tried to enter the mainstream of Soviet art, but for many reasons it was given to them hard. First of all, it is hampered by their very commitment to realism, which many influential at that time, critics declared obsolete and are not consonant with the objectives of the era. Conclusion from this was that the realists who wanted to paint on a new theme, often bypassed in the allocation of contract work. Some help for them were small funds available to the small museum at the All, where the consultant was NA Kasatkin, which assigned orders for paintings of industrial life. Solid obstacle to write genre pictures with the new theme was also the fact that a considerable number of artists of the Moscow school were among the "etyudistov, creative roles which were the opposite of creating composite narrative paintings on given topics.
These etyudistov-lyricists included LV Turzhansky, PI Petrovichev, MH Aladzharov, Bychkov, and many others, which puts them in danger.
Turzhansky Petrovichev and tried to sell their views on a very low price in commission shops and at art auctions in a former restaurant on Arbat Square, where things were going on any proposed assessment from the audience. However, this was a very weak material help. One successful amateur painting bought in those years for a pittance at the oppressed LV Turzhansky twelve of his best and most large landscapes. After his death, he liked to boast that none of the museum does not possess such a collection of canvases of this landscape. In those years, he lived hard and Konstantin Korovin. He wrote little, the size of a postcard, eskiziki, who wore a coat pocket and in casual encounters with friends collectors offered them cheap to buy for those who, in his opinion, had the money. Some of these small conceptual works were the real masterpieces of painting. Like many artists of his circle, Korovin kept half-starved existence. Unlike others, he is very emotionally complained about it to friends. Korovin lived at Red Gate, in his room was very uncomfortable, things are scattered. If my memory does not change, Korovin went abroad somewhere around the twenty-fourth year, where it remained. It was for him a tragic political and creative mistake that led to the loss of their homeland. In KA Korovin-out had no intention to permanently leave his homeland and this I infer from the fact that a few days before departure, he offered to take to Paris for display in a separate exhibition of a series of watercolors of my father on Russian fairy tales, predicting the material success of their sales. The money he promised to bring himself to his father "shortly after returning to Moscow." The father rejected the proposal, although life was not easy for him. Now some of these watercolors are on display at the memorial museum, AS Pushkin in Moscow, in the collections of the figure of the Museum of Fine Arts, as well as in several other museums. Leaving, Korovin wrote several memos to the members of the Union of Russian Artists "Encouraging my father for the upcoming exhibition, which brings together and to participate myself. The dating of these notes can be set, as they are now in the collections of Dnepropetrovsk and Pereslavl. My father, BV Smirnov, in these years wrote several large canvases depicting new life in the country: a working reading room, a museum in Pereslavl, the removal of crosses from the closed churches, anti-religious museum in Kyiv, etc.
SV Malyutin had orders for portraits. He wrote a series of stunning portraits of the revolution, among whom fame was a portrait of Furmanova. Malyutina visited AV Lunacharsky, who once said that Sergey should be given the title of national artist (if this title still no one award). To its credit, SV Malyutina should be noted that he shared in response primarily to assign it the title of the first proletarian artist NA Kasatkin, and that was done. Sam S. Malyutin this title had not.
Despite this recognition of merit, relevance to Kasatkin by critics and those who was in charge of drawing up lists to receive government contracts, it was very dismissive. Nikolai A. bitterly refers to the fact that the critics who adhere to formalist views, put a barrier between them and the masses. According to his friends, it affects the health Kasatkin and hastened death. Shortly before his death he wrote a picture of where the depicted running under escort the royal gendarmerie revolutionary. Now under discussion Acceptance commission had obstruction, and the old man became ill at this meeting.
MH Aladzhalov with grief in half there was the fact that he was a private student-fan, fed him lunch after class - every other day. Comrades, and among them, and my father went to Lunacharsky petition for a pension for him, but a positive result is not achieved, since there were no preconditions for the application of the law. I remember the following episode, related by the early thirties, when the formalist painting is no longer enjoy the support Glaviskusstva. MH Aladzhalov once came to me and said, puzzled about, "what are the people" - he had just met the artist Rodchenko, who told him that he threw the painting, because for her he "ceased to pay the money, and take a more lucrative photography. .. Although Rodchenko wrote, abstract canvases, which was decidedly alien in love with Russian nature Aladjalova realist, but in the minds of hot adept painting does not understand how an artist can change the art on the mercenary reasons ... With some astonishment, and even a tremor in his voice Aladzhalov repeated to me: "I ask him, how did you quit painting, then they could, and he told me ... know that answer? That he is now money for it does not pay ... That's how. "
SV Malyutin written an excellent portrait of this remarkably handsome and humble man, depicting him standing in an old coat, "as poor" (as defined by his position the author himself, when showing me just finished canvas). However, a person "Manuka," as they called Aladjalova comrades, and especially the full expression of the eyes in this portrait to give truthful characterization of human, not broken by poverty, and having a rich inner world. Aladzhalov lived alone. In his room, except the perforated bed, desk, chair, easel and stacked on the floor a big pile of thin in painting lyrical landscape sketches, nothing. It was passionately in love with the art of fine artist with great talent.
Although the environment of the realists, whose paintings are admired by us in the halls of the Tretyakov Gallery, in those years were not uncommon ragged shoes and darned trousers, but by coming together, no longer young, these painters did not talk about the hardships of everyday life and problems of art and comradely discussed in detail the new product friends.
Great need these old realist artists experienced in oil paints, which in the ordinary sale had been made, and can be purchased only on special lists. Turzhansky more than a year "stretch" the use of two available to him tubes of white, so left his juicy style of writings by thick brush strokes, which negatively affects the quality of his paintings.
Once the "lucky" SV Malyutin, but this was somewhere around the thirtieth year, when the policy of procurement, identified the turn to realism. Having come to him, I was surprised to see the workshop a number of canvases with some orange protuberances. To my query Malyutin replied that it was the work of Rodchenko, the author has sold Sergey bulk and very cheap "as the canvas for writing", as they have stopped buying for the museums. Many portraits and still lifes Malyutina written on these canvases.
MV Nesterov were necessary brushes, as the old had completely obliterated. He went to the reception in the offices of JP Shterenberg, who refused his request, noting that although the brush is, but they are distributed between the orders available, which include Nesterov does not apply. (These and many other details I report based on meetings with the aforementioned artists, as many of them were friends of our family). Shterenberg with a grin Nesterov advised to try to make a brush from the spruce needles, as he said, had already done some amateur art lovers. Nesterov is not mentioned anywhere among the living artists. Several years later, impressed by the sensational news that the People's Commissar of Education Bubnov ordered to buy a portrait of Nesterov, after which the product of a venerable artist occasionally appeared in exhibitions, causing delight fans of realistic art. Nesterov was able to occupy a prominent place among the creators of the new art. Likewise, in the side, were brothers and Corina, which passed almost legendary fame details.
Participants of the "Mobile" and "Union of Russian Artists" felt that there are serious differences they have, and united in the "Combine realist artists. OCHRE organizational meeting was held in the studio SV Malyutina, and later met him or us, because my father was a member of this society. Money on printing catalogs and invitations, for rent rooms for exhibitions and all other costs are difficult to collect a purse. Very jealously watched by the fact that the number of exhibitors have not penetrated hacks, artists with inadequate qualifications and small creative hot.
Exhibition staged in a large auditorium at the University of Moss Street. The jury was not, but in some cases comrades in a friendly manner encouraged not to a particular pattern (say "put" to the exhibition, and not "hang" pictures). For example, once when I was friends recommended Bogdanov did not exhibit the "sweet" family portrait, which he implicitly performed by removing the already fastened on the panel work, although the portrait was a custom and a prerequisite of payment has been showing it at the show. Bogdanov in this period is needed, and comrades are sympathetic to him, but everyone understood that when displaying works of art to the people compromises are unacceptable.
In the realistic artists of the older generation at the device shows no calculation in wealth, driven by their strong desire to show their art to the people, to have contact with the audience. On the opening day was going to "color of the old intelligentsia - many scientists, famous writers, composers and actors. Attended the opening days and Lunacharskii, but young people in the exhibitions of realistic art is almost not there.
There have been solo exhibitions. For example, remember a very informative exhibition of works of NA Kasatkin, on opening which gathered almost exclusively by friends of his youth - the artists. At this exhibition was shown a lot of paintings from the life of the workers pre-revolutionary Russia, the paintings of modern coal miners in England (where he had been an artist) and several works that reflect the life of the Komsomol. On opening day the artist welcomed the Quartet excellent musicians performed several classical pieces. But that day I heard in the same room from fans new Western trends opinion that the exhibition "smacks of bedbugs."
None was on a large solo exhibition of works by AM Vasnetsov in the Rumyantsev Museum - the youth they were not interested.
It should be noted that the realist artists of the older generation enjoyed the wide development of culture after the October Revolution, and saw its mission to convey their skills to the new art. At the same time, it was difficult to find ways to apply their experience. VK Byalynitsky-Birula wrote a series of landscapes Gorki-Lenin. PI Kaelin made portraits VI Lenin, V. Mayakovsky and some party leaders. VN Baksheev, VN Bags and many other artists of the older generation painted revolutionary content.
In Moscow, Historical Museum organized the exhibition OMHa, which were collected, "Russian sezannisty - Falk, Drevin, Udaltsova, Osmerkin, Mashkov, Konchalovsky. The older generation of realists highly valued talent these two are the latest artists and welcomed the emergence of traits of realism in their work, but at the same time between OHRom and OMHom was a huge fundamental difference in the use of artistic means. Realists portrayed the surrounding reality - writing trees, houses, land, etc., while artists from OMHa wrote color of trees, the color of houses, the color of the earth. In addition, they mostly with contempt for the "literariness", meaning by this story ties paintings.
Realist artists of the older generation trying to attract as exhibitors for their exhibitions youth. Besides her daughter, son and son-SV Malyutina (OS Malyutin, MS Malyutina and MV Obolensky), exhibitions at the request of VN Baksheev participated Kozochkin and M. Zvyagintsev, which had high, but there is little hope of then justified. The struggle for the youth was, in fact, played the older generation of realists, at a time when they were expelled from the number of teachers school of painting, sculpture and architecture.
AM Vasnetsov around 1930 and was fired from an art college, where he taught for a short time. I know this because at about the same time, after VHUTEINa received a referral for a teaching position at the same college, where he saw a "cottage" (in a bad sense of the word) the method of teaching that as soon as possible tried to go there at other institutions. On a recent before leaving AM Vasnetsov, students and the best college teachers remembered with great regret.
Have been widely circulated in Moscow before the thirtieth year private art studio. Writing stylized oriental beauties Miganyazhian artist, as well as a wide fan of the "French" (as it was then) had a studio painting Leblanc on Tverskaya Street. Students in these studios featured "decorativism" in scripture studies. Continued to exist and studio II Mashkov. At Great Lubyanka had a studio apprentice Repin - Khotuleva. PI Kälin, Shor and FI Rerberg had a studio in the Butcher Street.
I learned from Fedor Rerberg. Large room with north facing huge, in a wall, window, was arranged as adopted for the art studio style. There were big vases with bouquets of dried flowers, plaster statues, pieces of old brocade, and on the walls - good watercolor paintings of the Fedor. He was very gentle, condescending teacher. Teaching method was based on the performance of long-realistic graphics with gypsum and with sitters. Writing students and mnogoseansnye oil sketches of nudes with detailed study. Has learned he has a lot of amateurs, but along with them, you see, and selflessly give themselves art boys. In F. Rerberg had brochures on the teaching of painting, written by himself. He gave them to his disciples.
It was in Moscow a few colleges, where some form of teaching art. Teachers "coming from the line" and "reaching from the spot," argued among themselves, but a serious attitude to the teaching methods were absent.
Among the whole variety of different directions in the teaching of art stood out seriously in the formulation of methods of teaching studio on Tverskaya Street, which was led by DN Kardovsky. In this studio, I went from FI Rerberg in 1924 and studied there for over four years. Center of arts education in those years was VKHUTEMAS, about which I write in more detail.
Remarkably, he is about Rodchenko. Here's further proof that not everything is always so benevolently and unctuously, as described by other ikusstvovedy. Sometimes the causes of a phenomenon where a simpler and more prosaic. Another thing is that sometimes these very prosaic reasons are the external expression to the deeper processes of. But before that, not everyone is interested to dig
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Absolutely.
But critics, usually on a prose pay attention to little if any pay.
But they have their own truth: whatever the reason, but the causes of a phenomenon rarely lie on the surface.
Yet memoirists read interesting
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Yes, that's interesting.
As if prikaseshsya to a completely different life.
Honestly, you know it's only with age (unfortunately).
Previously, it was interesting to read construing
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Exactly. Now, interestingly - the primary sources. Just now I'm reading Notes Vigel. Beauty! What is interesting for the memoir the author's identity to try to discern. For example, Anna Tyutchev, maid of honor many empresses in the memoirs of contemporaries appears lady is extremely strict and emotionally dry, but if you read his memoirs (unfortunately, the text itself is small, it did not have time to finish, but the published diary), then about any dryness and speech can not be.
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Yes, you know, it's still very much depends on how a person refers to the fact that he wrote. In this sense, I really like it diaries (of course, if these are real blogs and not a pseudo ...), that is important here is the moment of self-writing. Of course, if a man writes - it is almost always automatically assumes that sooner or later, it can someone read it. On the one hand, it means that the writer somehow controls his slovoizliyanie, sometimes a little posing. But on the other hand, in the end, most get used to it and keep a diary already without regard to the potential reader. And this is the introduction of such classes in the habit of very valuable - it allows a person to forget that it was someone else read it.
I was very impressed with his time reading the diaries Moore (son of Marina Tsvetaeva). This document is a rare and penetrating power, showing that in general, young man, almost a child, with all of it and the light and repulsive sides of personality, with little or no embellishment. For him, keeping a diary has turned into an absolute spiritual need, and it was so serious about this lesson does not allow him to play the hypocrite here.
And with what delight I read the diaries of Grobman (Leviathan). I swear, nothing more interesting on the Moscow underground I'm just not in his hands. Although it would seem - well, except that there are dry and boring descriptions of meetings, acquisitions, etc.
Yes, something I have today is
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Nothing, nothing "When on the topic, but in the case, yes the place - then all right! (I read and found that not synonyms - pleasantly surprised )
You're right: reading memoirs and diaries come only with age, and then reading these almost completely overshadows almost all the rest of the literature "But the diaries, even very young people (the ones writing that was irresistible psychic demand) is also understood better than the older you become, alas
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But the diaries, even very young people (the ones writing that was irresistible emotional need) is also understood better than the older you become, alas
It seems to me that the word "alas" is superfluous
It's cool - to learn to understand people, even with age. Age is still bound to grow - it does not stop, and if the age adds something valuable in life - it should just be happy. Think about it (time) anyhow goes, regardless of whether we buy something or not "So I had better buy
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But let it remain so, is "unfortunately" - it's very true you objected to it.
Thank you, faboush, you are very nice talk, but it's time to go, and then 20 minutes later a trolleybus in traffic will rise without any hope of escape, and now you can still get "comfortably."
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01.12.2010, 11:49
Remembering the 20's Gleb Smirnov
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